Charles Haine

Director/Writer/Colorist

Charles Haine is a filmmaker, writer and entrepreneur working in the motion picture industry since 1999. Since completing his MFA at USC in 2005, he has worked as a freelance director, cinematographer and colorist. Haine founded the Academy Award nominated production company Dirty Robber in 2008 which has gone on to success in feature films, shorts as well as commercials and music videos. He was also a co-founder of Cinelicious and Coyote Post.

Among Haine's directing highlights are: a music video for Fitz and the Tantrums "Don't Gotta Work It Out," which featured on Pop Up Video); fashion advertisements for Fais Do Do and Emory K Holiday; and countless book trailers for Simon & Schuster, Penguin, Quirk and many others—including the recent trailer for Chuck Klosterman’s novel The Visible Man. Haine recently wrapped production on his first feature film: Angel’s Perch, starring Joyce Van Patten, Ellen Crawford, Ashley Jones and Ally Walker.

As a cinematographer he shot the opening title sequence to the TNT hit RIZZOLI & ISLES, and his color work includes clients like Nissan, Ford, TBWA Chiat Day, ESPN, and many, many more.

Haine also works as an educator: An assistant professor at Brooklyn College's Feirstein Graduate school of cinema, he previously taught at Los Angeles City College and at Columbia College Hollywood, covering subjects as diverse as visual design, cinematography, color grading, stereography, and in-camera effects.

In 2011, Haine published his first book, The Urban Cyclist’s Handbook, and he appeared as the technical consultant host on the Discovery Channel show Unchained Reaction.

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FCP-X was a tough call, but eventually it just didn't make sense. It's really uncommon in post houses, so even young up and coming editors spend more time getting good at PP so they can work on the more common application.
I have even been to post houses that were in the ads for FCP-X showing it off who actually ran a combination of Premiere, Avid and FCP-7 and didn't use X.

Apple will keep going on X, and hopefully will regain some professional ground, but right now you just don't see it on sets, in post houses, and on pro jobs, with very few exceptions.

Well, you'll noticed we didn't report on transfer speeds (and we tested them galore, sometimes getting some real improvements over T2, depending on the drive), but those drives just aren't that common. Most filmmakers in the "indie" space are still using Lacie Rugged Raid drives (around 750mb/s on T2 or T3), or the Tuff at around 350mb/s either way, or G-tech. There are definitely going to be applications for T3 in the future, but for the drives we see most often used today it didn't make sense.

The Caldigit tuff is a common drive, USB-C native (that's the port on the body), and we tested common workflows. From internal to internal was tested as well, to take external ports out of the rotation.

The internal SSD to internal SSD test was most disappointing, since it was slower than the 2013!

I wish I loved this machine. I really don't want to buy a Razer and learn Windows 10. But it just didn't live up to real world situations.

Working on a full review of the 15mbp, but for now, Resolve is the program that really makes that machine shine: getting twice the fps playback compared to my 2013, and renders are 35-40% faster, which is pretty amazing.

Damn, well done breakdown of Godard and color: hadn't heard that take before. I think of the middle stripe as "white" based on the color of the bedsheet (it's not graded particularly yellow), but the argument could be made for yellow based on skintone.

The rest of your take on godard and the symbology of color is definitely interesting: I'll need to read up more on that.

thanks!

9 months ago

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